论当代隶书创作的得与失-美术专业毕业论文.docxVIP

万方数据 万方数据 中国美术学院 中国美术学院 书法系 蒋采 论当代隶书创作的得与失 综述 (0 5) 一、溯源循流关照历代隶书之演变 (0 7) 1．隶书起源： “佐助篆所不逮” (0 7) 2．隶书成熟： “隶法以汉为极” (0 8) 3．隶书式微：“篆籀八分，几于绝迹” (12) 4。隶书中兴：“超轶前代，直接汉人” (14) 二、瑕瑜互现考查当代隶书创作之得失 (1 9) l。传承与创新：当代隶书的融合发展 (1 9) (1)书体综合碑简杂糅 (1 9) (2)结构突破章法丰富 (2 1) (3)线条多变墨法多样 (2 1) 2．急躁与功利：当代隶书的创作挑战 (2 2) (1)整体偏弱形制过度 (2 2) (2)文化缺失内涵肤浅 (2 3) (3)跟风严重急功近利 (2 3) 3．文气与融合：隶书创作的审美回归 (2 4) (1)文化助力借古开今 (2 4) (2)厚重率真魅力回归 (2 4) (3)境界融合传承创新 (2 5) 结语 (2 7) 参考文献 (2 8) 中国美术学院 书法系 蒋采 论当代隶书创作的得与失 2 中国美术学院 中国美术学院 书法系 蒋采 论当代隶书创作的得与失 摘 要 当代(本文特指上世纪八十年代至今)隶书创作，紧随着从上世纪八十年代再兴的“书 法热”而趋于繁荣，在总体上可谓承袭汉隶、唐隶、清隶之遗绪，一大批具有开创精神的 隶书家，在系统地学习传统的基础上，大量地借鉴新出土或发现的众多文物典籍，并揉合 篆书、草书、行书、楷书之特长，强化视觉冲击和展览效果，推陈出新，成效卓著，推动 了当代隶书创作的多元化多样性发展。当今，书法从精英艺术逐渐走向大众文化，名目繁 多的展览和比赛逐渐成为书法的重要展示平台，这些都让书家的创作目的和心态发生异化， 一些隶书家也因急功近利求盛名，一味求新求异，使当代隶书创作缺乏上乘精品和著名大 家。本文通过对隶书的溯源循流，论及当代隶书创作之得失，旨在对当前正确的隶书发展 创新之路做一些探索。 关键词：隶书创作源流得失传承创新 中国美术学院 中国美术学院 书法系 蒋采 论当代隶书创作的得与失 Abstract The creation of Lishu Script of the present age(This dissertation refers to from the 1 980s up to now．)is becoming more and more popular following closely the revival of the Calligraphy Fever from the 1 980s．In generally,we can say it inherited the Han Lishu，Tang Lishu，Qing LiShu． A large number of calligraphers of Lishu who had pioneering spirit studied the traditional knowledge and meanwhile they drew lessons from quantities of newly unearthed or found ancient cultural books and records．They combined all these with the specialties of Zhuanshu，Caoshu， Xingshu，Kaishu in order to enhance visual impact and the effect of the exhibition．They got the outstanding achievements and promoted the diversification and development of contemporary calligraphy creation．Today’S Chinese calligraphy,from elite art gradually toward the mass culture， numerous exhibitions and competitions has become important platform．However，some artists began to create strange and obscure works because of seeking quick fame，which also makes contemporary calligraphy creation lack of superior quality and masters．Base